That is a Zouwu. It’s a Chinese creature. They are incredibly fast and incredibly powerful. They can travel a thousand miles in a day . . . and this onecould take you from one part of Paris to the next in a single leap.

The Niffler sniffs around more shimmering footsteps—another place where TINA stood.

NEWT

Oh, good boy.

(intensely worried)

Jacob, she was here. Tina stood here. She has incredibly narrow feet, have you noticed?

JACOB

Can’t say that I have.

NEWT sees a vision of KAMA.

NEWT

Then someone came towards her.

NEWT points to a feather from KAMA’S hat, sniffs it, and looks troubled.

NEWT

Avenseguim.

The feather turns like the needle of a compass, pointing the way.

NEWT

Follow that feather.

JACOB

What?

NEWT

Jacob, follow the feather.

JACOB

Follow the feather.

NEWT

(of the Niffler)

Where is he? Ah,AccioNiffler.

The Niffler is carried by the spell back into the case. NEWT takes the case and dashes off.

JACOB gestures toward the bucket in his hand.

NEWT

Let go of the bucket!

JACOB drops the bucket and chases after NEWT.

SCENE 49

EXT. PARIS—DAY

Establishing shot.

SCENE 50

EXT. PLACE DE FURSTEMBERG—MORNING

QUEENIE approaches the trees in the middle of the square. She coughs. The roots of the trees rise up and form a birdcage elevator around her, which descends into theearth.

SCENE 51

INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL—MORNING

QUEENIE descends into the beautiful Art Nouveau French Ministry of Magic, its domed ceiling patterned with constellations. QUEENIE approaches reception.

RECEPTIONIST

Bienvenue au Ministère des Affaires Magiques.

QUEENIE

I’m sorry, I don’t know what you just said at all—

RECEPTIONIST

Welcome to the French Ministry of Magic. What is your business, please?

QUEENIE

(loudly and slowly)

I need to speak to Tina Goldstein, she’s an American Auror working on a case here—

The RECEPTIONIST flicks through a few pages.

RECEPTIONIST

We have no Tina Goldstein here.

QUEENIE

No, it’s . . . I’m sorry there must be some sort of mistake. See, I know she’s in Paris, she sent me a postcard. I brought it, I can show it toyou. Maybe you can help me find her here?

QUEENIE reaches for her suitcase, which falls open.

QUEENIE

It’s just in here. Oh rabbits! If you can just wait one moment! I know it’s in here somewhere. I definitely packed it. Where is it?

As the RECEPTIONIST gives a Gallic shrug, a genteel ELDERLY LADY crosses into the shot behind QUEENIE. She has a distinctive bag in her hands—we follow her into theelevator—where ROSIER stands waiting. As the doors close, the ELDERLY LADY transforms into ABERNATHY and he pulls out an elaborate box . . .

SCENE 52

EXT. PARIS BACK STREET—DAY

QUEENIE stands sadly on the street, holding an umbrella. Then—a double take—did she just see NEWT and JACOB hurrying from one side street into another?

JACOB

Could we at least stop for a coffee, or like a—

NEWT

Not now, Jacob.

JACOB

I don’t know.

NEWT

This way. Come on.

JACOB

Pain au chocolat? Half a croissant, or like, a bonbon?

NEWT

This way.

QUEENIE sets off down the street, trotting in her haste to catch up with NEWT and JACOB.

We follow her, drawing ever closer, as she chooses from a bewildering number of side alleys. So absorbed is she in trying to follow NEWT and JACOB—she can now“hear” JACOB’S thoughts.

QUEENIE

(calls aloud, joyful)

Jacob! Jacob?

But he has gone. Exhausted and lonely, QUEENIE drops down to the curb in the rain, deafened by the clamor of the thoughts of those in the crowd around her.